Within Steve Schwartz's thoughtful review of the Gould performances, he
writes:

>I won't predict whether Hindemith will be played fifty years
>from now.  Nevertheless, his delivery of repertoire for so many different
>instruments and at so many levels of player skill I believe bodes well for
>him.

Absolutely, yes!  Wherever there are students of orchestral instruments,
Hindemith will reign.

During my student years I accompanied the trumpet, trombone and flute
sontatas several times (the latter, once partnering Paul Dunkel -- its
final movement is the flute equivalent of a tongue twister), and my first
exposure to Hindemith was learning the Third Sonata as a teen.  Wonderful
under the fingers (better-feeling than the Prokofiev 9th, which I was
studying at the same time); the affects of each movement are clear in
and of themselves, and well contrasted.

In Hindemith we have a skilled and complete composer whose reputation
appears to fluctuate with prevailing artistic fashions, but who endures.
== Would listmembers care to discuss in similar respects Hindemith's
equally prolific, near-contemporary:  Milhaud?

Judith Lang Zaimont